Bending your Tone for Page

The Led Bender mkII

The UK fuzz mania began in 1965 probably after the Rolling Stones recorded the 3 fuzz notes that changed the history of rock'n roll: the opening notes for their hit "Satisfaction". First recorded on Brian Jones' Harmonica in Chicago and 2 days later by Richards using a Maestro Fuzz Tone, the opening notes were meant to be replaced with a horn section later on, but luckily producer Andrew Oldham decided to keep it as it was. The song was an immediate hit across both sides of the Atlantic and fuzz was the talk of the day. Guitar legend Vic Flick, the man begind the James Bond Theme, brought the American Fuzz-tone (FZ-1) to the UK and asked electronics engineer Gary Stewart Hurst if he could modify the unit to increase the tone sustain. Hurst used a similar 3 transistors architecture and designed the first Tone Bender, referred today as the mkI. Within a year or so a plethora of fuzz pedals were issued by various brands like the Arbiter Fuzz Face and the Baldwin Burns Buzzaround. While the Fuzz Face became the most famous fuzz of them all, the Tone Bender was probably the highest selling unit ever due to the fact that it was issued under various brands like Sola Sound, Vox, Rotosound and Marshall. The MKI version was made famous by the Beatles (Rubber Soul), Mick Ronson (Ziggy's Spiders from Mars), Pete Townsend and Jeff Beck.

Jimmy Pages' Bender original receipt (left) and the Sola Sound reissue of the mkII (right)

Despite its legendary sound, the Tone Bender mkI's sound and design was not flawless. Circuit was sensitive to gain tolerances of the transistors and the sound was buzzier than some wanted. A new 2 transistor design was issued by Sola Sound and is referred to as mk1.5. This design could probably be the original 2 transistor design which Arbiter issued during 1966 as the Fuzz Face. The circuit was more stable, the sound was richer and saturation was not too heavy. The huge success of the Fuzz Face drove the competition further and Sola Sound made the leap to a 3 transistor architecture but this time it was a first amplification stage driving a Fuzz Face style 2 tranny stage with Germanium OC75 or OC81D were used on all 3. Different brands featured similar mkII design using various transistors, and they all were successful throughout the late 60's and 70's. When referring to legends like Jimmy Page and his tone on the Led Zeppelin I and II albums from 1969 the Tone Bender mkII is considered to be a major factor.

The Led Bender mkII

Even more variant and diverse than the Tone Bender mkII of the Fuzz Faces is the Tone Bender mkIII which was issued 1968 and sparked a whole different era of fuzz pedals which led to the birth of the Big Muff.

After building more then a few fuzz pedals I decided to get into the Tone Bender jungle. I realized that I really wanted the mkI and the mkII, but the mkI seemed tricky and risky so I took the mkII path. Now Germanium trannys are always expensive and I found some silicon versions which got good reviews so I decided to give it a go.

After many unsuccessful attempts on various schematics I found one which worked, sounded good and by replacing trannys I really managed to get that bendery tone I was aiming for: Raw, punchy and versatile. Once you go for the Whole Lotta Love riff with humbuckers or How Many More Times with a Tele, you'll know this is the one.

I started with the GGG NPN design modded by J. Orman and B. Trembley which is a good choice. You can find the schematic here, but I really wanted to have the extra Tone control so I went the Hot Silicon path  designed by Gus Smalley. The schematic is shown here. The two designs are quite alike and sound more or less the same depending on the transistors used. I took Mictester's and JD Sleep's advise of putting low gain sets and went to buy the 2N2369 parts instead of BC109C or 2N5088. I ended up using 2N2369 for Q1, 2N3904 for Q2, BC109C for Q3 and 2N2369 for Q4 for the TONE stage. I also liked the FAT switch which switches between low and high values of the input cap. Once I got that Jimmy Page sound I called it a day and painted the new Led Bender in a Zeppelin homage style.

Gut shot of the Led Bender. VR1 is a pot on the right side.
Might as well change it to a  board resistor.

I am sure this is not the end of my Tone Bender phase but it sure sounds great, I am getting a friend to lend me his Sola Sound reissue of the mkII professional and I'll compare the two. Meanwhile I play Good Times Bad Times using this little baby connected to the Runoffgroove Supro amp emulation pedal and with the right  reverb I can nail that super tone. A major milestone in my Fuzz quest.

Page the 1st or First Page

As discussed earlier on this blog, the amps used by guitarists as well as the guitars, pedals and picking techniques, all contributed evenly to the magical electrical guitar tones produced during the 60's and the 70's. 

While most guitarists rocked the world with their Voxes, Fenders, Hiwatts and Marshalls, there were still other brands which became legendary later on when people realized that some of the great recordings ever were made using them.

Such are the Supro amps made by Valco in Chicago throughout the 50's and 60's. Although cheaper than most Fender amps they still sounded great and were quite popular in the US as well as in the UK. It is believed that one Jimmy Page has recorded the entire Led Zeppelin debut album in 1969 using a Fender Telecaster, a ToneBender Fuzz pedal, a Wah pedal and a 16T Supro combo amp. The sought after sound of Page is also a result of great playing, great mic placement and great recording techniques but surely this American style amp has something to do with it.

I have listened to some software plugins simulating the response of such an amp and decided it was worth the effort. When the Runoffgroove (ROG) team came out with the updated design of the Supreaux Deux I couldn't be happier. What's more, they actually own one of these babies so they really rtied to nail the sound rather than the FET-TUBE conversion design. I was so pleased with the former designs of the THOR and the ENGLISH CHANNEL, that I knew it was going to be a blast. The circuit is driven by 18V which gives the sound more headroom and lower gain. I really love fuzz boxes going into low gain and cleaner amps because it really gets the fuzz sounds better defined and less muddy. It was a pretty simple build and I did a pretty good job, I guess following the ROG design. I placed a 9V battery in the enclosure and connected a regular 9V power so that I could have the 18V together until I build  a 9V to 18V converter.

The results were great. Perfect clean-to-crunch DRIVE flexibility and a good lo-pass TONE control to keep that sizzle I love so much. the FAT switch is a mod I added to keep more of the low end when playing the neck pickups.The amp sounded good with humbuckers but superb with a Tele. Clean sounds and edgey and warm and the overdriven crunch is in the style of "Good Times Bad Times" opening chords. What a Blues Driver. The amp is not complete without a fuzz and a Wah. A treble Booster like the Ranger (ROG Omega) did wonders with the Drive knob about half way and north. Using a Tele you can really nail some of the crunchier sounds on LZ1 album where page doesn't use a fuzz. He engages the fuzz on solos mostly. for a Pagier sound always keep the mic away from the cabinet to get more room, and add some reverb.

The one thing I really needed now was a Germanium SolaSound ToneBender mkII....yeah right.

Well I did start looking for the best ToneBender mkII clone out there. While it may not be the Ultimate fuzz ever (the Maestro FuzzTone or Tonebender mkI are nominated for best ever), it is supposed to be quite versatile and sweet. Stay tuned.

The Supreaux Deux schematic which I call First Page or better yet Page the First can be found here. A 9-to-18V converter can be found here or on this thread.